 Good morning everyone. It's nice to see you this morning. I hope you enjoyed a little Wake-up music from the Grateful Dead I'm Ginny Steele from UC Santa Cruz and this is my colleague Robin Chandler who's also from UC Santa Cruz We're happy to be here today to talk to you tell you a bit of the story about the Grateful Dead archive and It's history with us UC Santa Cruz found out about the existence of the Grateful Dead archive in 2006 we were informed by our Professor of Music Fred Lieberman who is a long-time student of the Grateful Dead who Actually has collaborated quite a bit with Mickey Hart who's one of the two drummers for the band They've written several books together, and they collaborate regularly Fred teaches a course on the Grateful Dead that usually has an enrollment of three to four hundred students and Mickey comes to campus Every time Fred teaches the class and does a guest lecture. So there was a close relationship already in place when When this story began for the library So Mickey mentioned to Fred that the band had a large archive and was looking for a home for the archive They wanted some place that would appreciate it that would process it and make it available and Care for it in perpetuity so We then were informed of this in the library and got in touch with the band's business manager And expressed our interest so we went up to San Rafael to meet with the business manager and Then he took us to the warehouse in Marin County where the archive was located But one of the things we talked about with the business manager was why we thought Santa Cruz was a good fit There were a number of reasons why obviously the relationship that Mickey had with Fred was an important one But also the fact that Jerry Garcia as a child Spent his summers with cousins who live in the Santa Cruz mountains just north of Santa Cruz proper and for anyone who's a real deadhead you know that Jerry was missing part of one of his fingers and That accident actually happened when his brother accidentally chopped off that portion of the finger when they were both quite young and playing together obviously in kind of a Violent way So also the campus for a long time has hosted the website that has the annotated grateful dead lyrics on it It's a website that's done by David Dodd and Is is considered to be an excellent source of information about the lyrics for the the songs? So we made a case we actually after we met with the business manager wrote a proposal and sent it to the band and described what we would do with the archive and We committed to make it available Collaborate and actually make it more open to the public and to use then we typically do with archival materials That was also something that the band's manager told us was important And so we we made that commitment to them And we also agreed that we would dedicate some space in the library to showcase some of the items from the archive So eventually the band made a choice and they gave us the archive We were not prepared for the amount of attention that this received When the announcement was made in fact one of our campus trustees Committed that he had never seen you see Santa Cruz featured on the front page of the Santa Cruz or of the San Francisco Chronicle over the fold and In such a positive way, so this was the beginning of The public phase of having this archive the same day We had a press conference at the Fillmore in San Francisco That was attended by Bob Weir and Mickey Hart as well as a number of other members of the band family John Perry Barlow a number of other people one of Jerry's daughters was in attendance so And it was quite something because it was a true press conference with a room full of reporters TV cameramen All sorts of people really interested in what was happening with the archive So again, we were getting the sense that the world was taking a lot of interest in this archive we then went back and Went to the warehouse and really started looking at what it was the warehouse itself was 2,000 square feet and it was packed floor to almost 30-foot ceilings with materials and We didn't know exactly what was there. We knew there were Records of the band's concerts. We knew that there were business records. We knew there were photographs posters T-shirts other kinds of merchandise Also a lot of material that fans had sent to the band so we we embarked on the process of packing up the material in the warehouse and Bringing it to Santa Cruz. These were some of the file cabinets. We brought along I love some of the the bumper stickers on them. They're a lot of fun We also found a lot of ephemera as well as the files and We became very close with Eileen law who is actually considered the mother of this archive Eileen was first a volunteer and then a paid employee for the band She worked in their ticket office and she has the true soul of an archivist She kept all these materials and she organized them As best she could and she even defied the band on multiple occasions when they told her to get rid of all that junk In one case she she put it all in a closet in the building that they used at fifth and Lincoln and San Rafael Just so the band members would think it had all gone away But she held on to it and and she has worked with us since that time to really Make sure that we know what's in the collection and take good care of it One of the other large components of the collection that we received was fan decorated envelopes the band Sold tickets and made tickets available for people who wrote to them at their office And people would write in they really desperately wanted to get tickets to concerts And they thought it became sort of Folklore that if the envelopes were decorated there would be a better chance of actually getting the tickets So as part of the collection, we received more than 16,000 envelopes decorated most of them front and back and Boxes and boxes of these envelopes and that's actually been kind of a fun treasure trove to have because we have people who come to visit the archive who Wrote in for tickets and who find the envelope that they decorated in 1981 So it's been quite a trip back in time for some people So once we got the archive our first step was to process it physically using more traditional methods So we we arranged the collection described it Here's a copy of a record that was put in the online archive of california To let the world know again that we had the collection We've also spent time Reaching out and trying to make People aware of the scholarly aspect of this collection One of the questions we get on a pretty regular basis is why is this collection important? Isn't this just another rock band and and essentially who cares? The answer is a lot of people care This was a very unusual band it existed and they performed for 30 years starting in 1965 through 1995 until jerry's death Uh, they were incredibly Improvisational one of the first jam bands that performed They had a very wide repertoire one of the interesting things about the band is they could go to a city and have Three days of concerts to give and they would not repeat a single song in those concerts They weren't a band that had a set Show that they put on so you'd go once and you'd see the show and then you'd go the next night And you'd see the same show over again. It was definitely a band that believed in creating an event and doing that spur of the moment and Drawing the audience into it There was a very strong relationship between the band and the audience And the band felt that without the audience they couldn't be as creative and perform as well So it it was important for them. So all of this has generated over the years A fair amount of interest in on the part of scholars and a variety of disciplines And in fact the um southwest texas and american popular culture association Have a grateful dead scholars caucus that meets every year and has met every year for 15 years And that consists of two and a half days of papers given about the band about their music about the sociology of dead heads the the group of people that followed the band around and that were Dedicated fans of the band And so we have started in the archive to put out a journal called dead studies that is the Much of the material that comes out of the grateful dead scholars caucus Here are also some cover pages of some of the books that have been written about the band One of the first was dead head social science, which was edited by rebecca adams A sociologist at the university of north carolina greensboro She was one of the first to Teach about the grateful dead and she got into a lot of hot water politically speaking For teaching that content She's also been in touch with us and we've been in touch with her and We're trying to work together on some projects around this Some other books here the a long strange trip if you're wanting to read about the history of the band This was written by denis mcnally the band's publicist and a person who has deep knowledge of their history And a recent publication actually two recent publications are marketing lessons from the grateful dead And dead letters grateful dead fan mail that showcase many of the envelopes in terms of our own outreach Around the archive One of the things that's often said about the band is that they the dead head community around them formed the very first social network And so we've tried to build on that and create a real ongoing social network taking advantage of the tools that exist these days So we have a blog We also have a facebook page and that's been pretty interesting because Our library facebook page has about 400 friends Our grateful dead archive facebook page has more than 62 000 friends So it tells us who likes what in in our collections And another part of building communities is to reach out in more traditional ways So we're doing a newsletter that comes out Periodically that showcases some aspects of the collection or describes new materials that we've added This is definitely a growing collection And from the very first day that the announcement went out that the the archive was coming to ucsc We've been adding material to it so We continue to build relationships with with dead heads and Members of the band family and we continue to add content So i'm going to turn the floor over to robin who is going to describe what we've done in terms of making the materials available online Thank you all very much for coming this morning. Um, it's an exciting topic to kick off the uh the morning with I think um We uh, we began uh this next stage of the project was really to to focus around this building of a socially constructed archive As jinny mentioned a little earlier, you know One of the things that we worked with the band To do was to talk about how we could make the content available And so building a building a website that could feature the band's content and also begin to Continue that that sort of legacy of working with the fan community was an important important step for us The band had this very unique relationship with its fans It was really an exchange between the artists and the audience during the show And the show was very paramount As you've heard, uh, the same set list was never performed Twice the same song never in the same manner And we uh, we wrote and were happy to receive an IMLS grant a two-year IMLS grant Which went towards our process of building the socially constructed website and What we what we saw was that this was really a very unique opportunity to leverage this relationship between the band and the community To help build the collection We would enhance the content that the band gave us through the great efforts of Eileen law But then build the build the collection through capturing the fan experience Our specific IMLS goals were to scan some 45 000 items To use omeka as the essentially core of the website To bring in, uh, web resources When appropriate into the collection To work on developing a plugin that would Essentially enhance the exchange of information between cunt and dm and omeka and also and you can well imagine this To identify and resolve some of the the copyright issues that we might You know sort of encounter as we went into Scanning this collection and as you can imagine there might be a couple of issues That would be a part of that It's really been a very library wide effort To to do this work. We've drawn from special collections From digital initiatives from our library it staff As well as from librarians with expertise in scholarly communication and ip We hired for the project the grateful dead archivist Myself as project manager and also a programmer for the project Um Omeka was a very uh appealing software for us to use In in a couple of ways It has the the ability to create exhibits, which we saw as a very good way of being able to help Provide interpretation of the collection to give that enhancement to the collection and also as a way to Potentially in the long run reach out to graduate students and faculty to help build Content that would use the collection The other really important piece about omeka is the fact that it has a user submission piece And that was really critical to what we wanted to do with the project One thing too to really mention I just want to say it right up front And it'll it'll be a theme that you see throughout the my presentation is a fact that um as As a library it's part of the University of california system We have the opportunity to essentially leverage the services that are provided by cdl and the california digital library and you'll note through the presentation that we're using the online archive of california We're using the web archiving service. We're using uc3 easy id for persistent identifiers And we're also tapping the uc3 merit repository We've also been working very very closely with the staff at omeka At george mason university and as well with the university of virginia scholars lab who've been doing an awful lot of development on the omeka software Okay Well to jump jump in here a little bit deeper One of the the first things we needed to do then was to really think about this 600 Linear foot collection and determine what items were we really going to scan for the project? We worked with the intellectual series arrangement and description From the archives And also with the grateful dead archivist expertise Nick maryweather regarding some of the significant events in the history of the band You know one of the a good example of showing this is is the idea that The grateful dead maintained their their show files Which would include their business correspondence about having Having a show in a particular city as part of a tour But in the show files you'd find a great deal of things the correspondence You know some of the financial arrangements, but you'd also find the tickets You know for example the sample tickets. Well for us as a project to scan We were really very interested in in just scanning the tickets And we wanted to bring those out And you work with those as a particular format As we would begin to gear up for scanning You're gearing up for digitization is much easier if you can go into production where you're really working around a format So one of the things we needed to do was as you can imagine was to go into the show files and then begin to To take out those items that would be relevant This happened throughout the throughout the entire process where you have your archival arrangement But then what you need to do to actually scan is quite is quite different Um The digital production really needs to happen at that sort of mass scale to be um and format scale to be efficient Um, some of the materials that we have scanned Have been t-shirts three-dimensional objects Photographs three five millimeter slides and also videotape and audio tape And you can imagine for each one of those formats you've got a different kind of scanning arrangement And and quite quite honestly different different equipment that you need to use Um We also developed tools to guide the selection of content for the scanning Um one thing to to bring to mind and you can see it here on the the slide Which is a grateful deadline and nick was able to develop sort of the the ultimate list of shows As well as what were the significant events in the history of the band And we were able to use that to essentially be able to target material that we wanted to scan in the collection The show again being the very preeminent sort of baseline for how How the the band would be documented and how we would scan What are the the big goals of the project then as well was to to really engage Engage the fans in crowdsourcing We um We we developed uh Before we even began scanning we really and then And then the subsequent process of then creating the metadata. We developed a strategy on how we were going to engage our users We thought about it in terms of what what kind of metadata should we create? And what metadata would we like to see our our users create and this could this would Uh, this would be different depending on the the format that we were scanning and I've brought an example here to sort of show a photograph of A fans waiting outside the film art east in 1970 for uh for a performance And to the just to the other side of that is our grateful dead archive name authority file And I I illustrate this to say that right at the beginning We decided that in the in the images and throughout the collection We would strive to identify the major players You know the members of the band the band changed throughout the years And and particular individuals that were significant like bill Graham You know in the in the history of the band and that's what we would concentrate on But it seemed a very logical thing to then To leave the other material i'm sorry the other sort of access points around names to to the community as we as we go live So as we as we move forward then We will leverage then a mecca's tagging and comments to gather a lot of that other metadata around individuals This is an example then of showing the digitization process what we went through This is scott camble one of our digital technicians scanning the envelopes that that jenny has mentioned He's using a cryo scanner there and doing and doing three envelopes at a time You can imagine that was an important thing for us given that we had over 16 000 of them to scan And this is an example of a particularly nice envelope Created by michael everett who actually went on to be a poster artist for the Grateful Dead It does it did work in a sense that when When the fans submitted art the band took notice and they they developed relationships with several of the artists to to do work for the band I'm bringing up an example here then to just in terms of the process Which is to say that we we thought about our metadata we did our scanning and then ultimately we would load Load our our to create our objects in content dm content dm has really serving as sort of our workhorse repository for us both for authoring Metadata and for creating the structure for the digital objects And you'll see a little further in the talk that we are we're working on then doing that data exchange into ometka Content dm is also important for us because It it does serve as a way to integrate the Grateful Dead collection that we've scanned with other collections that are that are scanned as part of as part of special collections It's kind of a an interesting thing ometka will be very separate and we'll just be focusing on the Grateful Dead But content dm allows us to have that that joint repository for for linked content I just wanted to comment and say that the the abbey software has worked really well for us That's a part of content dm. The one thing that we've noticed is that Poor quality original gives you poor quality ocr But we we've been very happy with it. We've done minimal correction of names Again in the in the text Just thinking in terms of users that those are going to be the kinds of points that they're going to want to find the people People that are part of the part of the texts be they artists or the band members or photographers But anything else we again will turn to the crowd to do As we as we move forward This is just kind of a little montage of some of the things that we've we've scanned again the You can see here envelopes fan envelopes tickets tour programs A wonderful picture of jerry in the early years and the hate. It's a photo by herb green The wall of sound and then some of the t-shirts that we've scanned My uh, my next few slides are going to really feature on The development of our website Our website is still in in progress. We're planning on Releasing the grateful dead archive online or g dow as we've come to come to speak of it It's the ubiquitous acronym, I guess But it is in development. We'll release it at the end of june of this year I think what's an important point to make is that with this website We're really trying to balance The needs of the public in a sense the dead heads With the with the need of those individuals that you're going to engage in scholarly research It's an interesting it's an interesting thing to to balance and I think that we will we'll see how it works We're planning on doing after release some focus groups with individuals to see What we might do to help improve it for scholarly access as well as with some of the fans I'm I'm quite convinced we're going to hear a lot from people. I mean, there's no question I think it'll be a really really interesting set of discussions But we've we've tried to at this point really strive to do something. Uh, that's kind of in the middle middle ground at this point There's five major browsing points. You can see them at the top. I hope It's essentially accessing the content by milestones shows artists media and fan art We've also featured then What's new about the site exhibits blog you'll see up there in the right hand corner There's a little flag for contribute And that's that's going to be a very important key to this project again as a socially constructed archive We really want to encourage the users to contribute Just sort of picking up here This is going to be one of the major ways into the content. It's a milestone Timeline we're using the university of virginia's neat line Tool that they've developed as part of omeka Our programmer kevin clark has been Talking a great deal with the uva staff at the scholars lab Because we're really pushing Pushing neat line at the moment We're going to be putting over 2000 shows Into this and sort of having a timeline that will accommodate 2000 shows and other significant events will be an interesting use of this and so Stay tuned. We'll see how it works One of the other things we're doing is we're bringing the existing blog into jidau. It's been a separate a separate blog using blog stop This is maintained by nick mary whether our archivist, but again, we'll bring it into the omeka site And import the existing entries Another feature is our oral history page. This is again a mock-up of what will be It's it's an opportunity for that user community again to help develop develop original content for the site We'll have five questions for them to to provide Answers to you know, what was your favorite show? What was your first show? It's really a way to engage them We we we hope it leads to even deeper oral histories nick mary whether Our archivist will be having a story core Where interested parties could come in and they could actually do extensive Oral histories with nick in our museum or sort of exhibit for the the grateful dead But again, we see this is sort of a way to reach out and get the user community to participate Um They can either answer the questions as text Or they can call the google voice number that we'll have and leave a message essentially google will supply us with a An audio file and a transcript that we will lend later turn into Into a digital object One thing I think that's Important point to make is that you have to register as a user To answer these questions and we have a pretty good feeling that anonymity is probably going to be an important factor here And so, um, you won't have to supply your name. It'll only be your email So or that email alias So, um, I think we'll have a richer collection by going going in that route We'll feature exhibits one of the the first exhibits that we will launch with will be the europe 72 72 tour It's also important to note that We'll have audio and video associated with the with the project We had over 150 to video tapes that actually came with the collection from the grateful dead They end up being sort of documentaries musical performances As well as sort of tv coverage of when the dead was playing in a particular place We've had all those digitized outsourced We've also been doing in-house the audio Transfer to digital The predominant material that's there are Radio broadcasts which end up being sort of interviews with members of the band as well as the concert line recordings Eileen law and members of the bands would essentially have a recording that would let the fans know When the the tour was kicking off when tickets would be available for particular shows And it's pretty wonderful to actually hear like jerry's voice for example or phil lash And those will be available for the for through the website The other piece again that's Really important component of this whole website is the user contribution page This again is a mock-up. We're going to be asking for very very minimal amounts of metadata From the from the users, although We love it if they would give us more You know in terms of if they can actually give us a date and they can actually give us a location of something But if they can identify a title and identify themselves that'll that'll start it that'll start it off But what's particularly important to to note here is that We're asking users If they own the copyright or or if they don't do they think they can make this available Via fair use We're also giving them the option to pick one of three licenses as they submit Two of them are creative commons one of which would be for non-commercial use the second one for Commercial use and then the third license is one where they would be granting the uc regions To grant our our library the permission to to use the material Sort of hand in hand and this hasn't gotten to the mock-up stage It's still in in wire framing But we want to we want to incorporate a wish list as part of the website Which is to really kind of target specific items. We might be using what might be looking for again You know a good sort of example of that is particular tickets that we might want to have for particular shows And and that would kill very much hand in hand with the the overall collection development policy That we have for the collection That will be available through the special collections website We sort of see this as sort of a balance There's there's that place where you know certain kind of users are going to be interested in specific things Again, I think that's sort of a place where the fans are going to be very interested In that but there are other kinds of users that would be interested in in what we're collecting around the Grateful Dead In a much more a deeper way and in some sense sort of a broader way And we'll have that available for those users to to evaluate as well The Grateful Dead website would be really nothing without music to a certain extent It is it is the it is the baseline for the for the collection But when we receive the the collection we did not actually receive any of the Original music at this point from the band contractual arrangements between Grateful Dead Productions and Rhino Records Prevent us essentially from being able to post any of the recorded albums online But what we decided to do to again make this a rich resource Was to reach out to the internet archive, which has a very rich resource of fans submitted tapes As you know the fan tape culture was very important to the whole experience of the show and the internet archive Was very happy to see us essentially Harvest their metadata and bring that in as part of of the the website What's this is kind of an interesting way to to think about it that will be incorporating Google Maps as a as a view into the content and the the experience of the the music coming from internet archive Will be very much browsable through this this location specific Where each show was So you'll be able to to click on this as an entry and it will bring up internet archive content as well as Our content that we've scanned as well as user submitted content I think it's important to note here as well that we've we've done our best to locate the GPS coordinates for particular venues, but some of these things are Not on the map per se And so we'll be reaching out to the the community To help us with specific coordinates if they if they have them as as they're able to make them available We've also used the web archiving service from cdl to essentially crawl 16 sites that we've identified the sites that That we've crawled include things like fan blogs That have images and commentary As well as the grateful dead lyric website that was created by david dodds that jenny mentioned earlier We have 14 sites in the in it now two of them are still embargoed But they'll be available in the next few months But this is is something again as well that we've incorporated The mark record that we've created for each of the websites That mark record is going into a mecca and that bibliographic data will then be Again available through our search results. You can just see the the tab for the the websites that will be there as well I've only got about a hundred more slides here, so I hope you guys don't mind staying through the break One of the the I've hinted at this earlier in the talk, of course Is is the whole intellectual property strategy around around this project and Really what we've what we've tried to do is really approach this in a way where how can we balance our our sort of fair use Fair use assessment And our interest in being able to put content up In a situation where it's still very much Much of it is still very much in copyright And so there's sort of the fair use piece Working in conjunction with identifying rights holders and obtaining licenses from them At the same time too, there's a really very important value that we That we have at UC Santa Cruz Which is also building those community relationships and goodwill in a I think kind of in some ways a very small A community of artists and photographers that are also very well connected I think a nice example of this is to think about For example, some of the poster art that we've scanned There are over 600 posters that we've scanned and by doing Copyright research we have actually determined that some of them are in the public domain But one of the the questions we have is Um Would it be the right thing to just post that publicly available make that publicly available when It might jeopardize a relationship with uh, you know with an artist Who some of them who were were burned? Through some of the relationships they had with Some concert promoters Bill Graham for example During the 60s and so it is kind of a question You know, we're still we're still debating that a little bit And we'll be talking with Ginny a little bit about what's the what's the right thing to do But we've we've done our homework is really the important thing and we've we've determined who the rights holders are And we've we've done that research to determine if it's in the public domain or not But the question will be should we just uh, should we just post it? Just to an ip campus library restriction Or should we make it publicly available and that's a that's a strategic question You know, I think that uh, the libraries need to ask themselves um, one of the other things too that Again, I mentioned he's also just thinking about contractual arrangements that the band has had with With rhino records as well and how that how that works, uh, we've um They they did not particularly want, uh recorded music up on site. So That that the band would have done in a formal session So we've um, we've been very careful about really documenting when that occurs In some of the audio recordings that we have and then Getting a sense of how long some of those performances are and then making rhino, uh, aware of it Politely and just as a as a good partner in this We're really very interested in in posting it and I think we've we've gotten very good feedback from rhino so far About those pieces of music that we found um Another important thing to just sort of relate to everyone is that we we engaged the services of a consultant to help us with This this intellectual property strategy We developed a strategy and then we uh asked Peggy hoon who is at north carolina seat university charlotte Who's the scholarly communications librarian to uh to prepare a report to really look at the strategy that we had developed To help us fine tune it but then also to really provide an environmental scan of current practices It was we were very happy that uh in this time frame just in the last couple of months that the ar l bus practices has come out So that's been sort of further Further knowledge as well as sort of um, I think support for uh where we want to go with this Peggy has also given us a nice sense of What she sees is sort of the risks associated with with some of the collection formats Some of the problems that might come up, you know, particularly Just to say that uh, it's there's no question that posting video is a real concern and We had putting entire works is an issue. That's one of the one of the formats that are specifically most risky And uh, but we we can uh be within our rights to post just you know sections clips of those So that's that's a way that we're we're proceeding um I wanted to just uh Briefly sort of speak a little bit to kind of the metadata environment that we see this ip work being done in Each digital object will have a right status and a rights holder when it's available We provide copyright and terms of use policies on the website as well as the dmca information And particularly the takedown policy that would be associated with that We've been coordinating with our dmca campus contact Pretty regularly on what our you know relationship will be when we get a takedown what we need to do How that will follow through We've also been just as an overarching piece Developing a real good communication channel with the community to to let them know that If if we didn't know who the rights holder is please come out and self identify, you know Please let us know so those are those are sort of uh steps we're beginning to take and as we roll out the website We will uh, we will go into high gear on that as well um the strategy that I have here i'm showing as a just sort of a A piece up here was approved by our campus council Essentially what we did was to lay out by format The risk that we saw associated with the particular format We had our consultant strategy We had our strategy that we then have developed After after the consultant and we talked about and approved this with with jenny The consultant when available gave us Sort of her opinions on access management, but we also Have outlined the kind of access that we want to give per each format Generally, we're looking to provide essentially medium res jpegs at 72 dpi for the material and to to essentially only restrict To campus when we have to we want to try to to put as much things out as we can publicly, but we will We will of course Use our our fair use assessment to help us inform that what we what we make available just uh just to the campus I just wanted to sort of briefly speak This is our our fair use assessment and copyright copyright issues analysis tool that that we developed I will do a shout out to you see san diego Library where I used to work and we did some very good work on on some of these issues as well And I took this this intellectual property to santa cruz. I hope my colleagues here don't mind But it was it was good thinking we did there and we've we've taken it and adapted it to to santa cruz as well The um Our our head of special collections Went through and evaluated the the brief of that collection Particularly, you know looking at what the copyright status was particular formats And then to obviously evaluate based on the the four factors of fair use purpose nature amount used and market impact We were taking that that information and then again sort of balancing it with the The the the goal of actually going out and getting licenses from the specific specific artists and photographers We identified over 400 of these individuals in the collection And then we were able to do the research to find over a hundred addresses For whom we sent out letters and emails Requesting their interest in participating to let us post and asking them to sign a license To date we have received 46 licenses out of that 100 that we've sent out But it's really only A small percentage, you know about 10 percent of the larger, you know amount of photographers and artists that we found in the collection The the strategy that we engaged in to research the contact information was to talk to some of our grateful dead productions Staff who still knew some of these individuals We also researched professional databases for artists and photographers We leveraged where we could the research that had been performed by others for addresses For publishers of books like the art of rock And we also did google web searches And we've documented all of this really well in spreadsheets so that we will have it On hand to to indicate the work that we did To to do the due diligence We've also developed a rights database that will maintain all of this contact information And the the rights database will actually work dynamically in omeka So in a situation where we have we have contact information for a rights holder Will actually link to the database and it will provide the contact information And so the the user of the the omeka Jidao site can get in touch with the individual Directly to to use the work I've also just Let's see here. Yeah, I just wanted to show we got we actually got a license from west wilson Who was one of the major poster artists artists working in in family dog? And that was a very big step for us. That's really a wonderful thing to have west participate Participate in this and to give us his blessing. I think it will speak very well to To the future and hopefully other artists supporting what we're doing So I'm really I'm wrapping up here The the next and last piece I wanted to just sort of speak about was sort of the back end of Of the grateful dead archive online there's a there's a Sort of a Couple of major things that wanted to to say here And one of the the biggest pieces for us was how to How to how to bring together omeka content dm And our use of the the uc3 merit repository As well as how to Bring user submissions Into an environment that could be Managed for access and also managed for preservation If you if it wasn't clear from speaking earlier We're building the omeka record objects from content dm records And so being able to enable that data exchange between content dm and omeka was really critical one of the One of the things for us that was a A are sort of an important Sort of milestone for us early on was the fact that we couldn't use the oai harvester That's available through content dm That really wasn't viable for us because you can only use it if the collection is published And we weren't at aren't at a stage, you know, essentially that we wanted to publish our content dm material This is this is something where content dm is serving as sort of a back A background Tool for us to create the data to provide that structure And then we're we're essentially exporting it and bringing it into omeka So the harvester wouldn't work again because it would we could only harvest from content dm published collections Um, so we thought that the the content dm api Would be our answer But and you can imagine that for us Our programmer was very excited the api for content dm is very much about how you can you can publish You can publish content dm and sort of configure the collections through the content dm website And we wanted to use it as a way to really get the the content out in a very automated the metadata out in a very automated way Um, but what what kevin? Thought was a feature in the api actually turned out to be a bug as far as content dm was concerned They're they're working with us now to to help enable that exchange and they've been very supportive about it But they as any organization has releases and things that they need to do so in the meantime What we did was to essentially to screen scrape, uh the the metadata To bring it into omeka um One of the the other uh really important things to mention here, too Is the fact that we we really wanted to have persistent identifiers and we wanted to have uh, if you can imagine We're having uh material live in three different repositories in a sense and content dm in omeka and and merit It's it's not perhaps the most ideal situation But it's the situation we're in at the moment and we'll continue to learn and evaluate as we as we move Forward working with the three services, but having a persistent identifier was really key across those So we uh, we chose to use uc3 easy id Um, and its resolution capacities as well um And that that arc will then be the same throughout wherever wherever it's living in the uh in the repositories um The the last thing I wanted to just really wrap up and this this speaks to this diagram here We've got a couple of things going on But essentially at the top there are two streams The top stream is about the user submissions assigning an arc and bringing them ultimately into the merit repository The same thing is also happening from content dm as well where we're Assigning an arc and then bringing them into to merit Some of this is happening. Some of it is still uh, you know in the the testing phase But the top the top workflow. I really wanted to to speak to in the last few minutes here And that's about the user submission process um We wanted to to again you go back to one of our goals here Which was really to to engage the community in the building of this archive So we decided something that would be really interesting would be to engage the community in curation of the objects um, because one of the things that we've learned from uh, Nick nick maryweather our archivist is the fact that The fans being very creative sometimes will author fake things fake fake posters fake tickets And so something that would be uh, Really a very useful thing would be to engage the community in identifying those those fakes now From a um from a historical perspective the fact that they're fakes is actually very interesting And that's great and we'll we'll preserve it, but it's really important from an authenticity perspective to say You know when the Grateful Dead was the warlocks and they used to play at the pizza parlor in middle of park They probably didn't have a ticket, you know, so when somebody creates a ticket and submits that We we need to know right up front if if it's authentic if it's the real thing so So there when a user submits content, we'll have some we'll have some filters to obviously Catch spam as best as we can and in our FAQ we will indicate You sort of file size limits and the kind of things we're looking for But we plan on having the user submission go live There'll be an arc that's created and assigned to that item so that it'll have its persistent identifier right away The content will be publicly available, but it'll be visually visually different You'll have a slightly different look to it and it won't be able to be socially bookmarked or commented or socially bookmarked but you will be able to comment on the object and It's in that that we Hope to get the user, you know user information about the object Right now We're seeing this curation period is happening for about a week. You know, we might end up It might end up being two weeks We'll see how it goes But once that period of curation is over It will then officially become an object that we want to submit to merit and we'll actually mint the arc Create a Mets object from omeka The Dublin core metadata that came from content DM will be mapped to mods So we'll be submitting a Mets mods object into merit We chose to go that way to try to be as interoperable as possible for the future and I'll just also just make the statement that you know, we we were Looking at Mets and we chose Mets because we know we needed some kind of structure You know, we Kevin and I talked about well with oai or e be something to think about but that seemed a little over the top But uh, so so Mets is the way to go Merit doesn't require Mets, but it was just something that That we thought was was was critical for thinking about future uses Um So let me just wrap up here quickly There's issues that will continue to resolve and think about things about synchronization Between content DM omeka and merit Thinking about redundancy There's ideas to continue to explore You know how we can do more work with crowd sourcing There's there's things to monitor in terms of the content DM community as well We're institutions like simon frazier have done some great work of of integrating drupal with content DM Using the api You know, i'm just i'm just raising that as Would that be something more efficient for us in the future versus omeka? But you know, we'll we'll see how see how all these things Play out Jenny here for a second Okay, so Going full circle going back to the physical This dead central is actually the space that will be dedicated to the archive in One of the libraries on the santa cruz campus We're in the process of constructing it right now and it will open later this spring And one of the things we have received from a donor is this statue of jerry's hand Which now sits on this pedestal outside of dead central and we're hoping it will become something of an For the space and our intention going forward is to really link up the physical and the virtual And put exhibits online as robin has mentioned and showcase the G dow in the space that we have so There's still a lot of work to be done, but we're really excited about it. It's been a terrific project and Fun as well as a lot of hard work. So We'll stop there and and see if you have any questions. I think we have just a few minutes for questions Hi, um, you mentioned that I think three staff had been hired specifically for this project Is that basically all they do is just work on work on? Well, uh, robin and kevin who were hired for the project. Yes work on the project Nick mary whether our grateful dead archivist is He's actually a permanent employee Now so he is a member of our special collections department He focuses on this collection, but he also helps out He works the special collections service desk and and does other kinds of work. He does instruction in fact So and not instruction about this collection, but general instruction for a writing program So he's integrated into the library Right. I imagine there must be a number of other staff who are also heavily involved as well. Oh, yes Yes, yeah, I've pretty much tried to tap everybody in the library Thank you No other questions. Oh julia you mentioned about the the I guess the user created content that they're going to supply to you in terms of Things that they might create themselves that say I was there, but there wasn't anything there their kind of thing But what about people who want to contribute something, but they want to hang on to it themselves? Are you going to Have them loan it to you so that you could digitize it and add it to the collection Or is is that the intent? So, you know, so if I had a ticket from a game and I or from a game See where my head is at Yeah, I had a ticket for an event and I didn't want to give it up yet Could I send it to you to digitize but then send it to you have it sent to you later? Sure, that's a that's a very good question. Um, you know, we're we're, uh Anticipating or hoping that there'll be a lot of digital submissions in a sense of that that that Individuals could scan it themselves and keep their original and send us send us that scan submit it through the website But there there could be circumstances when You have something and you don't have the ability to scan it And you'd like to to do a more sort of manual process and we'll definitely be able to support support that And and frankly, I I think too in in some ways, um, you know, it may end up being that Users submit a digital item and our archivist Will Will decide that he would really love to have the original if it's possible and we'll probably reach out to uh to users To ask them if they'd be interested in that at some point in time You mentioned that um, I actually have two questions, so I may stand here You mentioned that you were interested in crowd sourcing artists Uh photographers those types of things have you thought about whether or not people will start tagging themselves attending concerts? um because From a from a person who likes cutting-edge music. I think it would be interesting to see who attended Different concerts. I remember reading a while back that um the former prime minister of the tech republic attended a concert at the 930 club in dc and Now I feel really special that he and I hung out at the same place So, you know wondering those kinds of things whether or not you're Prepared for people to tag themselves because it might be interesting to see that Absolutely, you know, Lenny Kravitz first concert was the Grateful Dead or something like that. Yeah, absolutely. Um, and I think you're I think prepared is I really you know put that in quotes Because what the volume is going to be is really going to be how what's the scalability of that but but indeed What our what our intent was we developed the name authority file to to essentially Tag Before when we're creating the metadata record and content dm To give us the opportunity to identify those principles the in that are in photographs But to yes very much So open up who might be in those other photographs And I think that that image I showed of the fans waiting outside to go into the film or east in 1970 We don't know who those people are and we really do hope that they they do identify and and I think it's it's going to be really interesting to see how how this plays out You know, you could you could imagine I'm I'm going out there in terms of a visualization, but you could you could imagine people potentially having Sort of seating plans for concert halls and this was my ticket and this is where I was and this is who I am and You know, it's it's it's possible that this get into being really creative and that this might be the kind of thing that users want and I we're thinking about it. What we'll be able to accommodate will be something That we'll we'll obviously evaluate but But it would be it would be really neat to to do that that if you and Lenny Kravitz and the uh the check President all went to the same You might see me there too. Yeah, well, I think and I think too if you're finding a fan base That's the fan base that would get you to that point of of most fans The other question I had was um, have you had other bands? Archives approach you about how to do this because I could imagine Growing up in a family full of Beatles fans My aunt has an amazing archive in her own right of her experience with the Beatles concert tickets and that sort of thing So I was curious if other bands have approached your other institutions have approached you because they have collections similar to this um And and they're wondering kind of how to go about doing something similar because you have had a lot of um press about this so Um, we haven't Because we haven't launched it yet. I don't think we've had um the exactly the kinds of inquiries you're wondering about we have had Casual conversations say with some people who are Attached to the Grateful Dead But who also have relationships with other musicians and bands And they're really watching what we do with this. So I think I think starting this summer when we launched the the website I think that's when we expect to get some More conversations going and of course we hope and because we're Santa Cruz if you don't know california is about 70 miles south of san francisco And um and it is a big music venue So we're hoping that that some of the bands that have played in santa cruz regularly will be interested and will take notice So we'll see Well, we hope it's not So, uh, we've actually run over time I want to let you go and get some coffee or take a break. So thank you for coming this morning